Soundwave Festival @ EasternCreek Raceway, Sydney(22/02/09)

Tue 24th Feb, 2009 in Gig Reviews

CHECK OUT ALL THE PHOTOS FROM THE DAY HERE.

Soundwave for 2009 in Sydney started off as the most exclusive event of the season. But not because of limited ticketing or a super-high-class venue, or even the line-up: it was so exclusive because no one could get in.

Despite two entrances intending to make everything easier, thousands of punters were left waiting angrily in line. For up to three hours. No kidding. This review was meant to include reports on Mary Jane Kelly, Less Than Jake, Jack’s Mannequin, the Subways and Jaguar Love. No such luck on seeing any of them. You can imagine the pissed-off nature of every attendee attempting to get through…which is what made what happened next so fitting.

Whilst the smarter crowd members prepared for the chaos that was soon to ensue on Stage Two, Forever the Sickest Kids played their whiny, effeminate pop-rock to a batch of scenesters looking for an excuse to jump around on the opposite side. Not even a cute Will Smith cover could help their obvious transition from Sickest to Shittest. Our time spent with FTSK was mercifully brief.

Soon after their departure, an ominous sound sirened out from the PA and Underoath sticks man/singer Aaron Gillespie welcomed the masses with the instantly recognisable drum intro to Breathing In a New Mentality. Once each of the six band members had ran on stage and strapped in, it was more or less go time for all involved. For the next thirty-five minutes, the Floridian metalcore outfit led the crowd in anthemic renditions of numbers from each of the band’s three records with vocalist Spencer Chamberlain.

Circle pits and throwdowns were already the order of the day, and those who were stuck in line beforehand were openly venting their frustrations right there. Closing up with a blistering Writing on the Walls, the band proved that time was of the essence at a festival such as this – we didn’t get nearly enough time with them.

Up next were Anberlin, who received a rock star welcome. Frontman Stephen Christian took the ball that the Sydney crowd had thrown to him and ran with it – an excitable higher-range ball of energy, fluttering around the stage and lapping up all potential crowd participation moments. In terms of movement, it took the crowd a little warming to, but sure enough we were all jumping along in no time. Christian is a truly gorgeous singer; flaunting depth, range and near-perfect pitch, and every song played proved that a little more each time. From the fist-pumping Paperthin Hymn to the dark balladry of Dismantle.Repair., Anberlin were a pleasure to watch. Here’s hoping they’re back out here sooner than later.

Managing to escape just in time before The Red Jumpsuit Apparatus, a trek from one side of the Raceway to the other was in order. The reason? Minus the Bear. Walking past everyone from Innerpartysystem to Every Time I Die soundchecking for their 4:00 timeslot, the Seattle quintet were finally found in the hidden corner, quietly trying to get their sound right. Despite not quite achieving this (the PA made the band sound a little flat), you couldn’t have noticed from either a) the band’s attitude, or b) the overall quality of the music that was being played.

Seasoned performers with a real flourish for precision and rhythms, tracks from all over the band’s discography were given a whirl, which was enthusiastically received by the comparatively small but dedicated attendees. The biggest cheer was reserved for Absinthe Party at the Fly Honey Warehouse, and rightly so: lovely harmonies, ripe energy and hooks to be found in every nook and cranny. An under-appreciated performance by a truly under-appreciated band.

The 5:00 timeslot was a doozy. It began with pop-punk quintet Valencia, who were quite visibly thrilled to be playing their music so far from home. Whilst not the most original of sounds, the five-piece executed their songs with integrity and an ear for perfect pop hooks. Extra brownie points are also due for vocalist and bassist coming out the front at the end of their set to personally thank those in the front row and pose for photos. A true sign of humble, kind and appreciative musicians – high five, Valencia.

Elsewhere, Funeral for a Friend had summoned the masses, truly affirming their status as Wales’ second biggest export (Tom Jones still being the first). It was easy to appreciate just why the crowd loved them so much; but properly understanding it was a different story entirely – all the energy in the world could not stop the band from being genuinely boring musically. Having either missed or not immediately about to see Roses for the Dead or Streetcar (i.e. their good songs), there was little point in hanging around.

Heading to stage four (dubbed “the metal stage”), 36 Crazyfists very quickly became the kings of their timeslot. Circle pits, walls of death, “get your fucking horns in the air, Sydney!”…we got the lot. Lead singer Brock Lindow was nearly on the verge of tears when thanking the crowd for their support and participation – yes, ladies and gentlemen, metalheads can be emotional too. Respect to this passionate and consistent band for putting on a great show for all fortunate enough to see.

As the next hour rolled along, either Billy Talent or Lacuna Coil were the obvious choices for who to see. Sometimes, however, it’s worth paying a risk at festivals such as these. Case in point: Rival Schools. The elder statesmen of stage three walked on, plugged in and delivered a thoroughly enjoyable set of gritty, alternative pop-punk. Their transcendence was cemented by the fact Jordan Pudnik of New Found Glory was to be found at several points during the band’s set watching in awe from side of stage, singing every word.

Sadly, not everyone shared Pudnik’s enthusiasm – there were more people in the caged-off bar or in line for food than watching the band. Even still, it was a highly worthwhile expedition into a band with a new lease on life after reuniting last year. Plus, final number Used for Glue stood out as one of the biggest sing-alongs of the day; hugely impressive given the quantity of people present.

New Found Glory were next, and Say Anything were readying themselves the next stage over. However, there were bigger fish to fry…and slam into…and run around in circles with. DevilDriver made a triumphant return to Sydney with a balls-to-the-wall set of loud, thrashing speed metal. Former Coal Chamber alumni Dez Fafara commanded both sides of the pit (split in half to prevent anymore walls of death) and showed no mercy to anyone who would not oblige. As Dez put it so succinctly, “Anyone watching from up on the hill and not down here with us is a fucking pussy!” Amen, brother. Getting slammed in the side of the head has never felt so good.

The time was drawing closer for the act any self-respecting punter had been waiting for all day. But first, a little Alice In Chains. With new lead vocalist William DuVall on board, the band proved to the heavily-devoted crowd that the new line-up was far more than Rock Star: INXS. With a near-perfect sound mix, the band led all that would listen through a string of their hits. Respect was very much due, but the time for grunge nostalgia was over. It was time for the pigs to fucking well march.

Three shadowy figures crept onto the smoky stage and took their place behind their respective instruments. Once they were prepared, they were followed out by a brooding, wild and iconic black-clad figure. It could only be Trent Reznor, and the moment the drums kicked in for 1,000,000, it could only be Nine Inch Nails. What followed will be remembered as one of the defining festival performances here in Australia’s recent history. How can you describe watching angst anthems like March of the Pigs, Head Like a Hole and The Hand That Feeds (with countless more that followed) executed live by four outstanding, skilled musicians? How do you explain just what you feel as you watch Trent Reznor cry out “Please, make it all go away”, “How does it feel?” or “I will let you down, I will make you hurt” on the verge of tears? Most importantly, how on earth do you describe a performance that leaves you speechless?

To put it bluntly, Nine Inch Nails killed it. In their 90 minutes plus set, the quartet managed to convey possibly every single emotion known to man through the majesty of song. Reznor stalked the stage like a mad scientist, shifting from the mic to slam away at keyboards and sample pads, along with hurling water bottles and tambourines into the crowd. Speaking to the audience was kept to a minimum, but his miniature rant on the topic of the future of the music industry received rapturous applause normally saved for a Barack Obama speech. At 42, and two decades into NIN, it’s a true testament to how important this band is in the fact that they remain as relevant as ever. Despite confirmation that the band will be “going away for a while”, you’d want to hope it’s not for too long. We need this band, people.

Another year done for Soundwave. Bad organising plagues them yet again in terms of entry, but inside the venue, things weren’t actually too bad. The water was cold and plentiful, the queues were handled well and there was not a dust storm to be seen on the main stages. Still, could they ever truly top Nine Inch Nails as a headliner? Doubtful.